Abel Ferrara’s reflects on the general state of unease and insecurity in this noirish film generating troubling reflections on who’s exploiting the empty mental and physical spaces caused by the pa…
in dual roles as a military man of uncertain allegiance and his revolutionist brother, the film will have viewers grasping for Ferraraesque judgments on the politics of pandemic protocols, though the director’s own statements clearly place him among the sane.
What “Zeros and Ones” does do, deliberately, calculatedly, in the kind of messy intuitive manner that’s been the director’s signature of late, is reproduce the general state of unease and insecurity that’s plagued most of us during lockdown, when deserted nighttime city streets are even more unsettling than in a noir film and paranoia about who gains from exploiting these empty mental and physical spaces generates troubling reflections.
The Chinese element is a major misstep, smacking of hoary stereotypes of opium dens where Caucasians are lured by drugs and lesbian sex designed solely for the male heterosexual gaze. It’s a clichéd netherworld existing just below the surface of “normal” society, spreading corruption among the populace, and given strong anti-immigrant feelings in Italy, this tired trope feels especially offensive.
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